Peter Jay Sharp Theater
When Annie and Peter decide to adopt, they come to set their sights on a child from Africa. But when the reality of this choice sinks in, it opens a well of uncertainty that speaks to their very identity as White Americans. Politically-charged and tack-sharp, The Call is a startling portrait of cultural divide, casting global issues into the heart of an American home.
Co-produced with Primary Stages.
Scenic Designer Rachel Hauck
Lighting Designer Matt Frey
Costume Designer Emily Rebholz
Sound Desginer Jill BC DuBoff
Production Stage Manager Vanessa Coakley
Playwrights Horizons’ 2012/2013 season productions are generously supported by the Harold and Mimi Steinberg Charitable Trust and the New York City Department of Cultural Affairs.
The Call has received generous support from the Peter Jay Sharp Foundation.
Photos by Jeremy Daniel.
CRITIC'S PICK. THOUGHTFUL AND ENGROSSING. Smart, natural, sparkling dialogue by Tanya Barfield, incisively directed by Leigh Silverman. Kerry Butler gives a nuanced and affecting performance.—Charles Isherwood, New York Times
TOUCHING, INTELLIGENT, TART and GROUNDED. Eisa Davis is simmering and sharp. Kelly AuCoin is innately charming. Russell G. Jones is wonderfully moving. Crystal A. Dickinson is fiercely funny.—Jennifer Farrar, Associated Press
RIPPED FROM THE HEADLINES. A fine production.—Elisabeth Vincentelli, NY Post
Listen to Tony Award nominee Kerry Butler talk about performing for ice cream, her common ground with Daniel Day-Lewis, and her personal connection to her role in THE CALL.
I did not want to write this play. I refused. Without realizing what I was doing, I pointedly and stubbornly refused. It wouldn’t make a good play, I thought. And I didn’t know how to write it. What I knew—what I was known for—were plays about the African-American experience through history. I did not want to write a contemporary play, a play close to me, a play about adoption. And so I didn’t write. And I didn’t write. I didn’t write. Anything.
Those of you who saw Tanya Barfield’s Blue Door here in 2006 may be struck, when you read her Playwright’s Perspective, by a kind of shadow parallel between that play and Tanya’s description of the genesis of The Call. Blue Door tells the story of a super-assimilated African American math professor who becomes increasingly haunted by specters from America’s and his own ancestral history. The path that led Tanya to write The Call seems to have run in reverse. She describes how her natural predisposition to write about African American history seemed to leave her as the specter of her own personal story began to call to her.
We live in an increasingly globalized civilization, evermore aware of the connections between our lives and the lives of our co-inhabitants on the planet, not only across political and geographic borders but also across time. One can hardly consider any aspect of the modern world in isolation. Watching the morning news, logging onto Facebook, strolling through supermarket aisles, we see everyday proof that the world is increasingly interlinked, a web of enmeshed connections, events and handshakes. And as a result, not to sound too much like Yoko Ono or somebody, our cultural views are evolving to become less myopic, the experience of our lives becoming more tied to the experiences of people we’ve never met.
“I remember being at the store and seeing Angelina on the cover of, I think it was People magazine, and I said, ‘Oh my gosh! We can do this.’” – Adoptive mother of Ethiopian child on “Good Morning America,” 2005 African adoption has been thrust into the international spotlight. The last seven years saw 41,000 African children adopted overseas, predominantly by French and American families. Those numbers stand in stark contrast to the larger global slump in transnational adoption. While intercountry adoption rates on the whole have plummeted to a fifteen year low, Africa has witnessed a threefold rise in foreign adoption. Celebrity publicity aside, what explains the sudden influx of Westerners adopting African children?